Mattingly "AI & Prompt Design: The Basics of Prompt Design"
Adding, sharing, growing, caring_IIFIEC_09112012
1. Merete Sanderhoff
merete.sanderhoff@smk.dk
@MSanderhoff
adding, sharing,
growing, caring
how do we care for cultural heritage today?
2. International Forum
On Cultural Infrastructures
Santiago de Compostela
3. Agenda
adding
how can museums add value to the Internet
sharing
which resources are we sharing
growing
what are we doing to grow the sharing movement
caring
how do we care for cultural heritage
5. Uffe Elbæk
Minister of Culture
The Danish government has
secured 20 million DKK more to
the cultural sector. The agreement
maintains the free entrance to
Statens Museum for Kunst.
http://kum.dk/nyheder-og-presse/pressemeddelelser/2012/november/finanslov-2013-penge-til-statens-museum-for-kunst-den-
gamle-by-og-fregatten-jylland/
6.
7. ”…what does it mean that there are
millions of images on the web that we
are not allowed to touch while at the
same time there are other millions of
images that we can actually use?”
Peter Leth, Creative Commons For All (in Danish only), 2011
@peterleth1
http://www.creativecommons.dk/?p=537
9. Why sharing
is a GREAT idea
economic
traditional image licensing is losing us money
workflow
digital infrastructure makes life easier
mission
cultural heritage belongs to us all
18. “The preservation, transmission, and
advancement of knowledge in the
digital age are promoted by the
unencumbered use and reuse of
digitized content for research,
teaching, learning, and creative
activities.”
Memo on open access to digital representations of works in the public
domain from museum, library, and archive collections at Yale University
May 2011
http://odai.yale.edu/sites/default/files/OpenAccessLAMSFinal.pdf
19. “Our understanding of research,
education, artistic creativity, and the
progress of knowledge is built upon
the axiom that no idea stands alone,
and that all innovation is built on the
ideas and innovation of others.”
Smithsonian Web and New Media Strategy, Version 1.0,
7/30/2009
http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf
23. • The Public Domain must be preserved
• A healthy Public Domain is essential to the
social and economic wellbeing of society
• Digitisation of Public Domain knowledge
does not create new rights over it
26. "Everyone interviewed wants to
recoup costs but almost none
claimed to actually achieve or
expected to achieve this… Even
those services that claimed to recoup
full costs generally did not account
fully for salary costs or overhead
expenses."
Reproduction charging models & rights policy for digital images in
American art museums, 2004
http://www.kdcs.kcl.ac.uk/fileadmin/documents/USMuseum_SimonTanner.pdf
27. Jo Prosser
Managing Director
Victoria & Albert Enterprises
28. Jo Prosser
Managing Director
Victoria & Albert Enterprises
"Since 2006 the commercial market for
[images] has undergone a revolution,
with consumers now expecting images
free of charge, free of usage
restrictions, and instantly available for
use…
29. Jo Prosser
Managing Director
Victoria & Albert Enterprises
… In summary, more people want more
content, from more complex sources
and at more speed, but are less
prepared to pay for it and less
sympathetic to the real, non-digital,
human resource required to deliver it."
http://smithsonian-webstrategy.wikispaces.com/Public+Domain+and+Image+Sales+References
43. Michael Edson Harry Verwayen
Director of Web and New Media Strategy Business Development Director
Smithsonian Institution Europeana
@mpedson @Hverwayen
52. "Like other museum institutions
SMK is used to being seen as a
gatekeeper of cultural heritage. But
our collections do not belong to
us. They belong to the public…
53. …Our motivation for sharing
digitized images freely is to allow
users to contribute their
knowledge and co-create culture.
In this way, SMK wishes to be a
catalyst for the users' creativity."
58. some data
April 16 – September 13, 2012
the page about SMK’s free images have been viewed
12,269 times
in comparison smk.dk has had 261,323 visitors in
total
the Creative Commons Attribution page has been
viewed 2,519 times
in comparison the ordinary copyright page has been
viewed 602 times
59. some data
the zip file in its entirety downloaded approx 320
times in April
bandwidth shows that >2 TB were downloaded,
that’s ~ 10.000 individual image downloads (average
size 200 MB)
since then, divided into three zip files (5 GB too big)
which have been downloaded
– Zip 1: 124 times
– Zip 2: 50 times
– Zip 3: 42 times
60. some data
the individual images have been viewed 2,966 times
(May 7-Sept 13)
averagely, users view 2,2 images and spend 5½
minutes on the download pages
in total 6,521 pages have been viewed
1,860 Danes have viewed the free images
757 from other countries, mostly the US, Germany,
and Russia
79. 3 principles
1. All Public Domain content is freely
shareable and reusable
2. We use an existing platform instead
of custom-building a new one
3. Target users take part in developing
and creating the experience
80. Twitter offers
artworks have individual #
comments are <140c
all users are equal and have names and faces
it is multilingual
comments lead to richer content
the platform is dynamically updated and improved
81. How will it work?
stand in front of an artwork in a museum
pull out your smartphone or tablet
scan a QR code or the artwork
scroll through a stream of brief comments and questions, open
links to related images, texts, videos etc. (anyone can do this)
post a comment, question, add a link, photo, video etc. (you
need to be a Twitter user to do this)
maybe you get a response – if you direct a question or
comment to a museum tweep, you certainly will!
94. start small
ask the users
adapt
experiment
seize the opportunity at hand!
www.guardian.co.uk
95. ”The single greatest
predictor of how much
value we get out of our
cognitive surplus is how
much we allow ourselves
to experiment, because
the only group that can
try everything is
everybody.”
www.guardian.co.uk
96. ”The opportunity
before us (…) is
enormous; what we do
with it will be
determined largely by
how well we are able
to imagine and reward
public creativity,
participation, and
sharing.”
www.guardian.co.uk
101. Jill Cousins, Europeana
Jasper Visser
Inspired by Coffee
Shelley Bernstein, Brooklyn Museum
http://www.formidlingsnet.dk/sharing-is-caring-2012-program
102. povertà vien dal timor!
Oralto’s aria ”Chi dal cielo”
Antonio Vivaldi, La fida Ninfa, 1731
(a work in the Public Domain)
103. Read more
About the shared mobile pilot project
• Open GLAM
http://openglam.org/2012/10/23/the-participatory-museum-of-denmark/
• Swedish Exhibition Agency
http://www.riksutstallningar.se/content/spana/curating-and-participation-new-mobile-
platform?language=en
• MuseumNext 2012
http://vimeo.com/45705253#at=0
About SMK’s free charter collection
• CC GLAM wiki
http://wiki.creativecommons.org/Case_Studies/Highlights_from_SMK,_The_National_
Gallery_of_Denmark
About Public Domain and open licensing
• Public Domain and Image Sales References
http://smithsonian-
webstrategy.wikispaces.com/Public+Domain+and+Image+Sales+References
My motto. I am an Art Historian. I get lost in tech discussions. But even I can see the enormous potentials of the infrastructure and openness of digital media in museums. I obviously care a great deal about art and cultural heritage. I see it as my foremost task to spread that joy, to contribute to building an environment where people will care for cultural heritage. Museums need users to care as much as we do. In order to make that happen, we need to allow users to own, share and use our assets – otherwise they won’t be useful to them, and then why should they care?
This question is crucial to me. As I see it, museums should want nothing more than to have our images be among those that are used.
It is different from analog in that digital is perfect copies that can be shared, so everyone can have theirs.
Substantial evidence suggesting that most museums are losing money on traditional image licensing Digital infrastructure makes life much easier – it lightens the burden of administration both for museums and users It is in harmony with our mission
How can museums add quality and value to the Internet
Be among the images that can be used! Various degrees of free availability
Kernen i strategien er SI Commons, der bygger på grundidéen om at fri adgang skaber mere værdi. En ny tilgang til kulturarvsinstitutioners rolle og forretningsmodeller, som underbygges af det omfattende strategipapir, og den fortsat voksende wiki.
Europeana, the network of 2,200 museums, libraries and archives that have managed to get all its members to agree to a new data licensing agreement that has given more than 20 million digital records back to the Public Domain.
So the question I ask myself is rather:
The question I ask myself is rather:
These are very real fears. But they are also being refuted by numerous examples from pioneer institutions who dare to share.
One example is the Rijksmuseum: Rijskmuseum’s new business model based on free download Their collections are of course very popular And they just launched so don’t have data yet But their API hasn’t lost them money (yet) Usability and generous gesture can be expected to be awarded
As Lizzy Jongma says in an email where she shared the story of the Rijksmuseum’s open API - and yes, she did allow me to quote from it – their primary mission as a research institution and national museum is to ”tell the truth”. That is why they made the principle decision to provide images in the best available resolution for detailed scrutiny.
One brilliant result being that their CC0 licensed high resolution images are harvested by Wikimedia where they push out the poor book scans that used to represent their beautiful artworks.
Thus making them available to be used in Wikipedia articles, blogs, publications, videos, apps etc.
And inviting users to create new stuff on top of their free images
And smart people like Harry Verwayen of Europeana and Michael Edson of Smithsonian are researching ways for heritage institutions to develop new business models that are in harmony with mission and potentially on a much larger scale than the revenue we are currently getting out of traditional image licensing.
The invitation for SMK to join the Google Art Project gave us a chance to do just that. We contributed a selection of highlights from our collections for the launch of version 2 of GAP in April 2012, seeing this as an excellent opportunity to reach out to new and wider audiences on an international platform.
What we did was create a simple and no nonsense page on our museum website where you can download the hires images that we feature in GAP. They are free and available in the highest resolution available ranging from 10 to 400 MB.
As long as you credit the source
To be used in social media To be available for Wikipedia To ensure that users can find the source
Throughout these pilots, we have learned that the Danish art museums are just waiting for the National Gallery to take leadership in the change process. Here, we could take the lead from Yale who (though on a completely different scale) has provided thought leadership in the US museum community: “Discussion among twenty of the largest museums at the Mellon Foundation last year made clear that they as a community are ready to embrace new policies, requiring only a leader they can point to in order to effect similar policy with their boards.” (Yale memo as cited on slide 3). If we take on the coordinating role, and move first by sharing our assets for free, our colleague institutions are likely to follow.
It works like this: Simply click the link and you can save the beautiful large image file on your computer.
These are not analyzed data, but they point in the direction that was also put forward ysterday at the Building the Cultural Commons session, that even just a tiny fraction of a body of digitized resources made freely available has great impact and raises much attention. There is a real demand for free museum images.
In February 2012, I was at a dinner party with some friends. One of the guests is an art historian who works as a critic at a Danish newspaper, and teaches at different adult learning institutions. She told an anecdote that made me stop in my tracks: She was in the process of preparing a class at Folkeuniversitetet and she needed some high quality zoomable images by Lucas Cranach t.e. (1472-1553) for her presentation. She knew the artworks were in SMK’s collections and had searched the museum’s website for the images but realized that it would cost her 50 DKK for each image to use them in this educational context. I know that the fee for teaching a class at Folkeuniversitetet is a little below 2,000 DKK which means after tax there remains 1,000 DKK. If she wanted just 10 images from SMK she would have to spend half her fee on images! So she decided not to use the professional photographs available from the owner museum, and instead searched the web for free images in lower quality.
Lucas Cranach’s work has been in the Public Domain for 389 years. Is it the mission and purpose of the National Gallery of Denmark to inhibit the use and circulation of this common cultural heritage for educational and other uses? From this anecdote I positively knew that there would be a demand for Cranach’s images, and it proves a point to me that one of his paintings come in as third most downloaded.
They are being used in social media
And wikipedia
These are some obvious common challenges that museums face in web 2.0 reality: Most Danish museums have insufficient capacity/means to utilize digital media potentials and offer the services that users are more and more expecting, for instance mobile platforms and easy online access to digitized resources. The museums are already struggling to meet the demands of the Danish Museum Law requiring us to do collection, registration, research, conservation and education. The demand to also provide online/mobile access is still relatively new, and still widely perceived as a ’nice to have’ add-on in many museums. We work in a silo culture of reinventing the wheel over and over again, custombuilding our own individual systems and apps that aren’t compatible with each other. And once we’ve all made our own individual systems, we realize that we forgot to think about maintaining/sustaining them. We are used to fencing in our digitized collections and charging for access to and use of them. Our business models define images as assets we can sell to make money. The fact is, though, that hardly no museums are making real money from this – on the contrary it is losing us money . At the same time, there is a growing awareness that we need to do things differently to ensure our relevance to new generations of users. It is a standard joke that our typical user is a highly educated woman, 55 years old or more, from the most wealthy third of the population. We all realize that this is not a sustainable situation. And it is not in balance with the fundamental mission of museums to reach out and make art and culture meaningful to the whole society. I’m stating the obvious, I know. But while it may sound trivial here in this crowd I tell you, it’s still a pipe dream to many museum professionals. Take it from one!
Again, I’m stating the obvious, but again I must stress that this is an ongoing discussion even at the largest art museum in Denmark to get these things written into our core mission and permament budgets.
So; what to do about it? Like so many other GLAM people I have been using the incremental change method to try and make things happen. Think big – Start small – Move fast.
Since 2009 we have invited colleague museums to join pilot projects exploring the benefits of sharing digitized content for free and collaborating on shared technological platforms. Building cultural infrastructures is at the heart of our endeavours, and SMK – being the principal museum of fine arts in Denmark – should be the spider in the web.
The number of partnering museums have grown
And grown to currently 11 museums.
Our current project is to build a shared mobile platform that will put the principles of free image sharing into practice in a coordinated effort. We have established three principles that will shape the platform.
The three principles are realized through the Twitter API. Twitter has all the features we need, and users are already there and familiar with the functionalities and platform. In practice, using Twitter as our platform means that: All artworks will be equipped with individual hashtags Comments can be maximum 140 characters All senders are named and have profiles, creating a democratic environment for interaction and dialogue All languages are represented It is easy to create relations to online content (links, pictures, full text, videos…) which gives museums an opportunity to link to and activate all their rich content about their collections, and create relations between artworks in different collections The partner institutions will not carry the burden of maintaining the platform – minimum effort required both in terms of content production and technological support, in order to make the collaboration realistic
Our main objective:
Is to inspire users to look closer at the artworks.
So far, we have tested the concept in three of the partner museums:
We used a very simple testing method to get users to respond to the concept alone without technological issues standing in the way. Our objective being to learn if the users would be urged to look closer and deeper by way of the Twitter-specific features of short comments opening up to related artworks and richer content.
It worked like this: A pile of short comments about a specific artwork was stuffed into a white envelope. The comments that were useful to the test user were stashed in a green envelope, the comments that were not useful went into the red envelope.
After testing like this in front of 4 artworks in the galleries, a short survey was filled out…
… followed by a focus group discussion.
Comments opened users’ eyes and made them interested in knowing more about the artworks and artists Users especially enjoyed comments that: Showed relations to other artworks Factual info on artwork and artist Open-ended questions They are excited at the option to post questions to museum experts and receive replies The knowledge of museum experts is crucial to the user experience
The limitation to 140 characters potentially encouraged users to contribute: a manageable task. The democratic multitude of voices had the same effect. Possible side effects too: Confusion Distraction/ ”noise” Especially interested in posting two kinds of comments: Direct questions to museum experts and receive reply Sharing links to related artworks or the like that they thought of
Users want a shared museum visit experience Tasks Battle Learning/education Use situations outside museum space Save links for later Explore art and relations between them Preparation for learning situations International users
” A veritable law in social media is that to get a system that is large and good, it is far better to start with a system that is small and good and work on making it bigger than to start with a system that is large and mediocre and working on making it better.” (p. 194) ”… we can’t predict how people will react to a gvien opportunity. Why would users care about this particular opportunity, given all the other things they could be doing with their time? New ideas seem clearer and more obviously good to the founders and designers of a service than to potential users…” (p. 195) ” No one gets it right the first time (…) the imperative is to learn from failure, adapt, and learn again.” (p. 203) ” If you want to solve hard problems, have hard problems” (Brewster Kahle) … ”it is more important to try something new, and work on the problems as they arise, than to figure out a way to do something new without having any problems.” (p. 205) ” The single greatest predictor of how much value we get out of our cognitive surplus is how much we allow ourselves to experiment, because the only group that can try everything is everybody.” (p. 207) ” The opportunity before us (…) is enormous; what we do with it will be determined largely by how well we are able to imagine and reward public creativity, participation, and sharing.” (p. 212)
” A veritable law in social media is that to get a system that is large and good, it is far better to start with a system that is small and good and work on making it bigger than to start with a system that is large and mediocre and working on making it better.” (p. 194) ”… we can’t predict how people will react to a gvien opportunity. Why would users care about this particular opportunity, given all the other things they could be doing with their time? New ideas seem clearer and more obviously good to the founders and designers of a service than to potential users…” (p. 195) ” No one gets it right the first time (…) the imperative is to learn from failure, adapt, and learn again.” (p. 203) ” If you want to solve hard problems, have hard problems” (Brewster Kahle) … ”it is more important to try something new, and work on the problems as they arise, than to figure out a way to do something new without having any problems.” (p. 205) ” The single greatest predictor of how much value we get out of our cognitive surplus is how much we allow ourselves to experiment, because the only group that can try everything is everybody.” (p. 207) ” The opportunity before us (…) is enormous; what we do with it will be determined largely by how well we are able to imagine and reward public creativity, participation, and sharing.” (p. 212)
” A veritable law in social media is that to get a system that is large and good, it is far better to start with a system that is small and good and work on making it bigger than to start with a system that is large and mediocre and working on making it better.” (p. 194) ”… we can’t predict how people will react to a gvien opportunity. Why would users care about this particular opportunity, given all the other things they could be doing with their time? New ideas seem clearer and more obviously good to the founders and designers of a service than to potential users…” (p. 195) ” No one gets it right the first time (…) the imperative is to learn from failure, adapt, and learn again.” (p. 203) ” If you want to solve hard problems, have hard problems” (Brewster Kahle) … ”it is more important to try something new, and work on the problems as they arise, than to figure out a way to do something new without having any problems.” (p. 205) ” The single greatest predictor of how much value we get out of our cognitive surplus is how much we allow ourselves to experiment, because the only group that can try everything is everybody.” (p. 207) ” The opportunity before us (…) is enormous; what we do with it will be determined largely by how well we are able to imagine and reward public creativity, participation, and sharing.” (p. 212)
” A veritable law in social media is that to get a system that is large and good, it is far better to start with a system that is small and good and work on making it bigger than to start with a system that is large and mediocre and working on making it better.” (p. 194) ”… we can’t predict how people will react to a gvien opportunity. Why would users care about this particular opportunity, given all the other things they could be doing with their time? New ideas seem clearer and more obviously good to the founders and designers of a service than to potential users…” (p. 195) ” No one gets it right the first time (…) the imperative is to learn from failure, adapt, and learn again.” (p. 203) ” If you want to solve hard problems, have hard problems” (Brewster Kahle) … ”it is more important to try something new, and work on the problems as they arise, than to figure out a way to do something new without having any problems.” (p. 205) ” The single greatest predictor of how much value we get out of our cognitive surplus is how much we allow ourselves to experiment, because the only group that can try everything is everybody.” (p. 207) ” The opportunity before us (…) is enormous; what we do with it will be determined largely by how well we are able to imagine and reward public creativity, participation, and sharing.” (p. 212)
Next step is to build a betaversion that will pool together hires images from the partner museums in a shared platform based on Twitter’s API. The museums will work together to create relations between our charter collections that will be free to share and reuse. In the pilot project, images will be manually delivered and uploaded by the partner museums, but once the platform is tested and ready to be implemented the plan is to use API’s to automatically draw images and data. We have no illusion that this project will magically solve all the challenges we address, but it is a way to get started working together towards shared solutions and a paradigm of openness. As the platform is going to be multilingual and art has no boundaries, everyone who has Public Domain images to share are welcome to join. If you have the content, we have the platform! Spread the word. Call me. Email me. Tweet me.
For brugerne Nem og gratis adgang til viden, oplevelser og redskaber Mulighed for at udvikle nye produkter og tjenester For museerne Større eksponering og cirkulation (delingskultur) Øget brug af fælles kulturarvsressourcer Mulighed for at udvikle nye forretningsmodeller i harmoni med museets mission og nutidens medievirkelighed For samfundet Kulturarv som redskab til innovation og kreativitet Støtte en fri, lige og demokratisk adgang til kulturarven
The international GLAM seminar ”Sharing is Caring – Let’s Get Real” will take place on December 12, 2012 in Copenhagen. We hope you will join us via the livestream.
The international GLAM seminar ”Sharing is Caring – Let’s Get Real” will take place on December 12, 2012 in Copenhagen. We hope you will join us via the livestream.